Vuillard's earliest portraits depict his family and intimates. And who was ever closer to him than K.-X. Roussel, doubly connected to Vuillard as his lifelong friend and brother-in-law? Indeed, it was largely due to Roussel's encouragement that Vuillard became a painter in the first place. Roussel played a prominent role among the Nabis, collaborated with Vuillard at the Théâtre de l'Œuvre, married Marie Vuillard, and thereafter remained a key figure in the close-knit family. Though inseparable, their artistic paths diverged after 1900. Less gifted as an artist than Vuillard, Roussel, with more imagination and less interest in realism, developed a high-spirited, neo-Baroque decorative style focused on classical and mythological subjects. He is little known outside of France and even there is not yet fully appreciated as the poetic artist he was. Despite their close ties, Vuillard painted Roussel and his daughter Annette in a remarkably formal and impersonal manner. This portrait strongly reflects Dutch influences on Vuillard's work. Light bathes every object it touches with beautiful impartiality, enveloping the figures in silence.

Inscriptions:

signature, undated / lower right / E. Vuillard

Object number:

RCA1943:17 

Provenance:

Bernheim-Jeune, 1903;
to Dr. Henri Vaquez, Paris, about 1905;
to Mme. H. Vaquez, Paris, 1938;
sold to André Weil, Paris, about 1939;
Matignon Art Galleries;
sold to the Albright Art Gallery, October 26, 1943